The musical instrument, commonly known as the instrument used to play music, has been used in traditional music since the Three Kingdoms Period, and about 60 types of musical instruments have been introduced, including unique instruments from Korea, and foreign instruments imported from China, the West, and other regions. As Korea was adjacent to the northern continent, Chinese and Western music was already introduced during the Three Kingdoms Period. Especially after Silla unified the three kingdoms, Tang Dynasty music was imported.

By the Goryeo Dynasty, Song Dynasty folk music and aak were imported, and by the time of King Yejong's reign, Ahak was introduced, and it still came in large quantities. These instruments were classified according to the main ingredients needed to make musical instruments in "Jeungbo Munheongo," and in particular, the musical instruments used for the unique traditional music, as well as the instruments used for Ahak and Dangak.

By the Japanese invasion, national sovereignty was lost and court musicians became free men. Of course, unlike the heads of government-affiliated musical instruments who made Jeongak-centered instruments, Sanjo-centered instruments were being produced in the private sector. This sanjo instrument can be said to be for individual performance, making it more cheerful and easier to transport than a group-oriented Jeongak instrument. During the Japanese Colonial Period, Kim Myeong-chil was named in Jeonju, and Kim Boong-gi (Kim Hak-gi) was named in Jeongeup.

After Korea's liberation from Japan's colonial rule, Kim Myeong-chil's technique was followed by his son Kim Gwang-ju, who became the No. 42 instrument master in 1971. He moved to Seoul to teach Choi Tae-gwi, Go Heung-gon, and Lee Young-soo before passing away in April 1984. Originally, Yi Yeongsu was designated as a cultural asset of Jeollabuk-do with the functions of Kim Bungi in Jeongeup, but he also received the functions of Kim Gwang-ju.

The musical instrument director originally thought he would make all instruments, but now he is divided into a drum, a jango, a gong, a gong, a jing, a salted fish, a flute, a gayageum, a geomungo, and a haegeum.

Im Seong-an was born in 1958 and was introduced to Heo Gil-ryang, a student who inherited the genealogy of Joseon Buddhist art, Geumho - Boeung - Ilseob - and Uil.

Im Seong-an took the initiative in various Buddhist temples including Gwaneumsa Temple in Masan, Anguksa Temple, Baekryeon Temple, Gimje Geumsan Temple, Guksinsa Temple, Jangsu Shingwangsa Temple, Wanju Hwaamsa Temple. Wi Volunteer Temple, Gwangju Wongwangsa Temple, Gunsan Eunjeoksa Temple, Incheon Jiseonsa Temple, and Haenam Daeheungsa Temple.

Stone structures refer to the foundations of the base, such as the base, stone, stone, and hexagonal axes where wooden structures are built. In order to build a stone structure, the strength, water pressure, and acupressure of the stone must be taken into account and the geometric principle must be understood. To become a master of stone structures, one must go through a long probationary period, overcome physical exhaustion, and have long experience and innate qualities.

Im Dong-jo is one of the few craftsmen who continue the tradition of building stone structures in Korea. In 1969, at the age of 15, he began to learn to work with his brother-in-law, who was working on stone structures. In particular, a brother-in-law of mentor, angio was damaged during Japanese occupation in 1968, Gwanghwamun restoration project who participated in the craftsman. Gwanghwamun, which was restored at that time, moved 13 meters east of Gwanghwamun in 2006 as part of a project to find its original location.

At that time, the owner was in charge of the relocation and restoration of the Six Axis of Gwanghwamun.

In addition to the base and hexagonal axis of wooden buildings, Im Dongjo also implements tasks such as dismantling and repairing already installed stone structures such as piers, handrails and stone pagodas by applying traditional techniques. In recognition of this ability, he participated in the restoration project of the five major palaces in Seoul. Recently, he was in charge of creating the foundation of the stone pagoda in the dismantling and restoration project of the Stone Pagoda in Mireuksa Temple Site.